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Regarding the Original Red One camera with the Mysterium sensor, I note this is 24.4 mm x 13.7 mm in size. What sensor size category is this is in therefore? Would it be Micro Four Thirds, APS, Super 35mm or what? Do you know of any resources online that talk about this?

Also, does the Original Red One Camera shoot full 4K footage, i.e. 4096 x 2160 pixels, or Ultra 4K?

Regarding the Original Red One camera with the Mysterium sensor, I note this is 24.4 mm x 13.7 mm in size. What sensor size category is this is in therefore? Would it be Micro Four Thirds, APS, Super 35mm or what? Do you know of any resources online that talk about this?

Also, does the Original Red One Camera shoot full 4K footage, i.e. 4096 x 2160 pixels, or Ultra 4K?

Yeah, I have been there and saw that however RED needs to be a bit more clear on those web pages that talk about the original Red One. If you flip through the Overview/Features/Tech Specs you will see that the are talking about the Original Red One Mysterium and the Red One Mysterium-X simultaneously therefore for the person new to the Red One, that can be misleading. Red should have had separate web pages for the two camera offerings- the original Red One Mysterium and the Red One Mysterium-X.

The Overview has the word "Original" in large print then the first line of the Tech Specs say SENSOR 14 Megapixel MYSTERIUM-X! The PROJECT TIMEBASE then goes on to say it shoots 4.5K! Clearly they are talking about the MX sensor because the Original Mysterium sensor shoots 4K only from what I have seen elsewhere.

RED was a much smaller company at the time of the RED One's release date and it's literally a different world in terms of the ecosystem and being able provide detailed documentation in a clear and concise way. In fact some of the system mindset has changed even in regards to how 16x9 format is implemented from the original RED One in terms of sensor size. From DSMC and Epic's release with Mysterium-X on the focus has been more on a DCI, HD, WS, as well as various anamorphic and special resolutions/aspect ratios.

The original Mysterium sensor started the revolution and adoption while solidifying RED as a forward thinking leader in advancing digital cinema technology, but most moved quickly onto Mysterium-X once it was available, same with newer tech as it was released.

While RED One bodies are still out there capturing beautiful footage it's pretty easy to see the advantages of the newer DSMC and more recent DSMC 2 cameras as well as sensor technologies.

I have a question. Is it correct to say that the RED One's [original Mysterium] crop factor is 1.4x when comparing it to full frame? Therefore, if a lens designed to cover a full frame sensor is used on a RED One, the crop factor would be 1.4x? Example, if a 50mm prime lens is used on the RED One, one would get an image as if a 70mm lens was mounted on the camera (50 x 1.4)? I saw 1.4x on a chart somewhere.

Finally, can you recommend some affordable (or near affordable) PL mount wide and ultrawide non-fisheye prime lenses that can be used on the RED One except Rokinon?

That tool allows for you to enter focal lengths to find out which you would approximately need to match other formats in terms of HFOV, which is more practical than FOV on the diagonal due to variations in in aspect ratio.

So in relationship to standard FF35 primes like 24, 35, 50, 85, and 135mm you would likely want a set of approximately 15, 21, 35, 50, and 85mm as seen in the link.

27mm through 35mm is widely considered a "normal lens" on Academy 35mm and Super 35mm. Which is why many DPs over the years have been fond of 27, 29, and 32mm primes.

Depends on what affordable is. GL Optics rehoused Loawa 12mm is a good deal for the price and covers up to VV. Outside of that ebay has a few 16mm and 14mm rehoused primes based on Canon and Russian glass. The Tokina 11-16mm is a popular option. Duclos has the best rehousing, but there are others.

Depends on what affordable is. GL Optics rehoused Loawa 12mm is a good deal for the price and covers up to VV. Outside of that ebay has a few 16mm and 14mm rehoused primes based on Canon and Russian glass. The Tokina 11-16mm is a popular option. Duclos has the best rehousing, but there are others.

Phil, per the Tokina 11-16mm zoom Cine lens, I am aware Duclos copied the design and made their own that retails for about double the Tokina's price offering. Looking at full HD shots on YouTube, I see that both lenses show somewhat blurry images and at some times they looked like 720p resolution when in fact they were shot at 1080p or 4k and downscaled to 1080p. Do you know of any Vimeo or YouTube clip that shows excellent sharp results with the Duclos or Tokina 11-16mm lens?